Omaha daily bee., 1887-02-27
VIVA VERDI! VIVA VERDI"
Triumphant Reception of the New Opera
"Othello" in Milan.
MAJESTIC AND MASTERLY MUSIC
Superb Scenery-Perfect Costumes
and Chorus-A Great Orchestra
Indifferent CAST - Unprece.
dentcd Honors.

MILAN, Feb. -[Correspondence of
the BEE. The grand opera house OF La
Scala has never before contained an audi
ence that could compare with the one
that assembled last night in honor of
Verdi's new opera, ''Othello." From pit to
dome the immense auditorium was filled
with eager faces, sparkling eyes and bril-
liant toilettes. The new electric lights
shed an indescribable softness over par
quet and gallery, and the scene recalled
some fantastic tale of the kings courts in
the Arabian Nights. The Italian court in
itself afforded dazzling mass of colors,
and Queen Margheritas ladies of honor
and the high bred Milanese women were
covered with Jewels. FULLY an hour be.
fore the. curtain arose every seat in the
house was occupied, and the light mur.
mur of expectant voices coming from
three thousand throats, perfectly audible
yet dscreetly indistinct, reminded you
of an enchanted forest on moonlight
night; where every leaf ana Hover stirs
to the rhythm of some wandering breeze
where the million confused sounds of re.
dundant nature, freight air and zephyr
with an endless breath of initiative har-
mony. No one was too exalted or too
proud at this greatest of all solemnitles,
to jostle the cont adina on the doorstep,
or the fruit-vendor humming Verdin-
ian measure under the portco Of La
Scala; all were frantic to be seated before
the curtain went up. Pride of rank,
birth or position gave way before the
universal homage which Italy still sows
IN perennial laurel at the feet of her great
composer.
BoITO's LIBRETTo.
Franco Faccio's appearance in the con-
ductor's chair, which he has filled SO long
and so well. was a signal for thunders of
applause. The orchestra at once struck
up few glorious chords representing Il
tempest, which was followed by an in
Simultaneous rise of the curtain. Boito
begins his libretto with the second act of
Shakespeare "Othello." The scenes are
laid in a maritime city of Cyprus, and
afterwards in Venice. 1 must first speak
OF the Italians posts work, to which
Verdi has written such sublime measures.
Arrlgo boito is glited IN arts, music ard
verse. He has laid hand upon the inn
mortal bard's work, which placed by an
heavy with sacrlegious weight Boto
has transposed, added to, and-do not
start-ln some ways adorned the play of
"Othello." de has done what no one else
has yet done: he has made study from
our classic which, while not absolutely
Shakespearean, puts the English poet in
still newer light. The enormous diff.
Guilty OF making an operate libretto from
play, is IN itself an almost insurmOunt-
able obstacle. What TO retain, what to
reject, what will lend itself to the con-
fines of musical space, what cannot be
compressed within the limits OF musical
expression, are considerations welghty
enough in themselves to paralyze the
most facile pen or Imagination.
THE FIRST ACT.
Boito began to think of his "Othello"
fifteen years ago. SIX YeaIs ago he sat
down and in as many months wrote and
completed his libretto. 1t flows with the
lImpidity which tranquillises waters ruf-
fled by the widest storm, and reflects the
light which we see on the wave lately
freed from the blacsness Of the hurricane.
The opening scene on the island of Cy-
prns presents lago, Roderigo and Cassie.
A chorus sings hymn Of victory, reioic-
ing that Othello and hls ships have been
saved from Turk and tempesti a brindisi